For me, this two-week experiment delved into internal negotiations for two slightly lost personas of mine - the xeno-digital artist and the painter-in-disguise. Hence, the course "Healing for a Sick Painting," with its rituals (we burned our queries to our 'bad paintings' and transformed them into talismans, read tarot cards based on our works, and crafted anagrams from statements), was precisely what I needed. My inquiry revolved around a method that could somehow correlate with my practices of dealing with imperfections and the materiality of digital editors/online platforms. But with the materiality of painting, everything seems fine, and reversely excavating the virtual in it would be too facile. In essence, something else was needed. The installation began with an embryo, layers of glue, clay, varnish, and paint, conversations about Tumblers and archaeology (not erasing, but excavating). Then it sprouted elements of a 3D interface, tangled wireframe meshes, arrows pointing to nowhere, tears of the phoenix, melting Hello Kitties as the simplest 3D models, formative clots of either flesh or something else entirely. And above all, the hagiographies of saintly worms.